Ross Bonaime

With undertone, Tuason has created one of the few horror films that’s even more horrifying to hear than it is to see.

Gail Daughtry and the Celebrity Sex Pass is as unhinged as the name implies, and it’s exactly what we’d want from Wain and Marino. These two have proven that their brand of comedy hasn’t gotten old over the decades, and thank goodness they’re back making the most insane movie comedies out there.

In just under two hours, Apatow and Berkeley truly do their best to cover every facet of Bamford, and it is an impressive document of her greatness.

The Invite might seem like a simple idea, but Wilde, as well as Jones, McCormack, and her excellent cast, make this into a compelling, delightful, and moving comedy that's more intricate than it might seem.

Buddy is a blood-soaked nightmare full of dark humor and surprisingly touching moments. Like its title character, Buddy isn’t just fluff, there’s something deeper inside.

A little more full-throated absurdity and humor would've been a great step for the film to take. Ultimately, The Moment is a delightful spotlight for Charli XCX as an actor, and the concept itself finds some playful ways to expand on the lore of of her massively successful album. "brat" is dead. Love live "brat."

If The History of Concrete proves anything, it’s that Wilson can make a movie about anything and make it absolutely brilliant.

Carousel definitely has some rough edges on the fringes of this romance story. But when Lambert gives us the quieter moments of Noah and Rebecca, or puts them together in a scene, it’s absolute magic.

With bad direction, terrible acting, and a world that has no weight behind it (especially since most of it was clearly made in a computer), this isn’t the way to bring Silent Hill 2 to the big screen. This powerful survival horror story has been turned into an ugly, laughable adaptation that proves that maybe we should’ve never gone back to Silent Hill.

All You Need Is Kill might not be as impactful as the Takeuchi / Obata manga, or Tom Cruise’s live-action update, but it does make some intriguing choices that will absolutely be worthwhile for fans of these other versions to check out.

A Private Life is worth exploring simply for the performance by Foster, which keeps this story moving the best she can, despite the screenplay’s constant starts and stops. If anything, the real mystery of A Private Life is why we don’t get to see Foster on our screens more these days.

A stunning movie that continues to solidify the franchise's legacy as one of the best zombie stories to ever hit theaters.

This third Avatar film might not have the groundbreaking impact of the first film, or the vast improvement that The Way of Water had over what came before it, but Fire and Ash is still an exceptional moviegoing experience that proves there’s still plenty of gas in this tank.

Kill Bill: The Whole Bloody Affair might not be Tarantino’s masterpiece, but it’s a brilliant example of a filmmaker with a deep-seated love of movies fully embracing his inspirations and passions in grand fashion.

It'll get your heart pumping from the very beginning, rarely giving you time to breathe, and boasts a lead performance from an actor who's truly in command of his greatness.

Kotevska isn’t just telling a story of a farmer in a foreign land; she’s constructing a story that we can all relate to in our current world, in one of the finest documentaries you’ll see all year.

Come See Me in the Good Light is a shattering, yet lovely documentary that’s easily one of the best of the year.

Maslany can effectively react to shadows and reflections, and Perkins can navigate this cabin to maximize its horror potential, but without the screenplay to back them up, this just becomes a curious experiment without much focus.

Miroirs No. 3 is enthralling from beginning to end, a smart, often heartbreaking story that thrives in its simplicity.

Predator: Badlands might not be the shock to the system that Prey was, but it is continued proof that putting Predator in Trachtenberg's was one of the smartest moves this franchise has ever made. The writer and director continues to find brilliant, fascinating ways to explore and expand the Predator movies to an exhilarating level, making this series better than it ever has been.

From its narrative that blends so many ideas exquisitely, to the gratifying characters and narrative arcs, to the absolutely stunning animation style, Arco is quite possibly the best animated film of the year.

Train Dreams is without a doubt one of the most extraordinary films of this year, the type that will stick with you, deep in your mind and heart, long after the credits roll.

After all these years, Left-Handed Girl is a terrific return to directing for Shih-Ching Tsou, who crafts a wonderful, often moving, and splendidly told story of three characters coming into their own.

Little Amélie or the Character of Rain is, without a doubt, one of the best and most touching animated films to come out this year, a remarkable example of what this style of storytelling can do.

As those familiar with Chomet's work would expect, A Magnificent Life is an exquisitely animated film to watch, even if the narrative is a bit rote. But it also makes one think that maybe the original concept for this as a documentary of Pagnol’s life could’ve been more effective and illuminating of what made him such a great artist.

As Ibsen’s play has shown, even a century after its writing, this is still a story with life in it, and DaCosta’s take modernizes it in deft ways. However, the questionable way DaCosta's film goes about it doesn’t do the story justice, making this a party that fizzles out long before the last guest has left.

Springsteen: Deliver Me From Nowhere can’t shake what we know about the biopic, but it does at least create some moments and provide some decent performances that make the audience forget about those clichés, at least temporarily.

With Bugonia, Lanthimos elevates an already fantastic concept, making an essential film about the world we live in and just how insane and hopeless it can feel at times.